PW: egroj

martes, 28 de febrero de 2017

Rhoda Scott • Come Bach To Me



By Terje Biringvad
What does Johann Sebastian Bach and jazz organ have in common? Rhoda Scott.
The concept for the album 'Bach Come to Me' is quite simple; pick Bach's well-known favorites, every track whereupon Rhoda Scott builds a musical bridge to the well-known jazz standards. But this two-world "simplicity" needs to be played. As an organist, you must first be able to handle complex Bach's works as he wrote them, then plunge into the improvised melodies of familiar themes and then to end the journey as Mr. Bach did on note paper. Bach came to Scott in her early age in the church where her father served, a place she learned to play the organ and the music by the great classical masters. Later it became gospel in the youth community and then piano studies that ended with a Masters degree in music theory. For the record label Barclay 'Bach Come to Me' was is a daring project for the jazz record buying public in 1971; mixing classical music and jazz organ had not been done before (in the symphonic prog rock genre, super groups like Ekseption, Trace, ELP and Yes had great success mixing classical, rock and jazz elements).
Finding the right musical bridge to put together the right Bach work with a standard jazz tune cannot be done randomly, here Scott has done a solid craftsmanship that makes the music flow naturally while also challenges the listener to follow carefully. Scott does not do the job alone on her Hammond B-3 organ on this album, she has the great support of drummer Felix Simtaine, as loyal and discreet coloring impressive in the various dynamic sections. The organ show is for me started by selecting the last track 'Toccata a re Mineur - Autumn Leaves' on the album, the famous Toccata is probably the ultimate test on how to play Bach correctly. I cannot consider the nuances of the accuracy of the Toccata played and it sounds impressive all the way to 'Autumn Leaves' the being lifted on to the celestial spheres through the impressive tonal variations on the organ with Scott's impressive block chord style in a killing pace. The album's best track. "Prelude say bemol majeure - The Preacher" brings us back to Scott's gospel roots in New Jersey, 'The Preacher' a true display of gospel organ artistry. Funky Bach? Be assured that it works on the 'Symphonie you nouveau monde - Sitting On The Dock Of The Bay', the funky blues organ does not compromise on the tracks originality. `Prelude en sol mineur - Moanin', 'Seigneur Jesus je t'appelle - Come Bach to me' and 'Sonate au Clair de humor - Espoir' starts quietly and gently as adagio's, or ballads, always do, but that's before Scott shows that she has other intentions when she brine us into the jazz organ department at a furious pace after which the ending is in Bach's spirit. I rate this album as one of the best albums in Rhoda Scott's vast discography - the album concept is still cutting edge after 40 years in the market.

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Traduccion automática:
¿Qué Johann Sebastian Bach y órgano de jazz tienen en común? Rhoda Scott. El concepto para el álbum 'Bach Venid a mí "es bastante simple; recoger favoritos conocidas de Bach, cada pista con que Rhoda Scott, construye un puente musical a los estándares de jazz de renombre. Pero esto de dos mundos "simplicidad" necesita ser jugado. Como organista, primero debe ser capaz de manejar trabajos de Bach complejas como él las escribió, y luego sumergirse en las melodías improvisadas de temas familiares y luego para terminar el viaje como el señor Bach hizo el papel de nota. Bach llegó a Scott en su edad temprana en la iglesia donde su padre sirvió, un lugar que ella aprendió a tocar el órgano y la música de los grandes maestros clásicos. Más tarde se convirtió evangelio en la comunidad de jóvenes y luego los estudios de piano que terminaron con una maestría en teoría de la música. Para el sello discográfico Barclay 'Bach Venid a mí "fue un audaz proyecto para el registro público de compra de jazz en 1971; la mezcla de música clásica y jazz órgano no se había hecho antes (en el género de rock progresivo sinfónico, supergrupos como Ekseption, Trace, ELP y sí tuvieron gran éxito de mezcla clásica, rock y elementos de jazz). Encontrar el puente musical derecho a armar el Bach derecho funciona con una melodía de jazz estándar no puede hacerse al azar, aquí Scott ha hecho una artesanía sólida que hace que la música fluya de forma natural a la vez que desafía al oyente a seguir cuidadosamente. Scott no hacer el trabajo solos en su órgano Hammond B-3 en este álbum, ella tiene el gran apoyo del baterista Félix Simtaine, tan leal y discreto coloración impresionante en las diversas secciones dinámicas. El espectáculo de órganos es para mí comencé seleccionando la última pista 'Toccata una re Mineur - Autumn Leaves' en el álbum, la famosa Toccata es probablemente la última prueba de cómo jugar Bach correctamente. No puedo considerar los matices de la exactitud de la Toccata jugado y suena impresionante todo el camino a 'Autumn Leaves' al ser levantadas a las esferas celestes a través de las impresionantes variaciones tonales en el órgano con un impresionante estilo de bloque de acordes de Scott en un ritmo matanza . Mejor tema del álbum. "Preludio decir bemol mayor - El Predicador" nos lleva de nuevo a las raíces del Evangelio de Scott en Nueva Jersey, 'El Predicador' una verdadera exhibición de arte órgano evangelio. Funky Bach? Estén seguros de que funciona en la 'Symphonie usted Nouveau Monde - Sentado en el muelle de la bahía', el órgano de blues cobarde no comprometer la originalidad pistas. `Preludio en sol mineur - Moanin ',' t'appelle Seigneur Jesús je - Ven Bach para mí" y "Sonate au Clair de humor - comienza Espoir 'en silencio y suavemente como de Adagio, o baladas, siempre lo hacen, pero eso es antes de shows de Scott que ella tiene otras intenciones cuando nos salmuera en el departamento de órgano de jazz a un ritmo furioso después de que el final es en el espíritu de Bach. Le doy a este álbum como uno de los mejores discos en gran discografía de Rhoda Scott, - el concepto del álbum todavía es de vanguardia después de 40 años en el mercado.


Zagreb Jazz Quartet • The Best Of Zagreb Jazz Quartet



Jazz quartet from Zagreb, Croatia (ex Yugoslavia) active between 1959-1967. Zagreb Jazz Quartet  ('Zagrebački Jazz Kvartet') was among the first significant jazz ensembles in Croatia.


Billy Martin and Wil Blades • Shimmy



“He is the future to carry on the legend, the legacy of the organ” said Hammond B3 legend Dr. Lonnie Smith about his disciple Wil Blades. We knew Wil Blades as a talented sideman through various collaborations with the likes of Will Bernard, Terrence Brewer, Stanton Moore and Karl Denson. But we didn't expect him to be quite so good and heavy as he teams up with drummer and percussionist Billy Martin. For the first time his dazzling ability to create an overwhelming groove finally stands out, fulfilling Lonnie Smith's prophecy. We won't dither and slither: Shimmy is an important release and it puts Wil in the B3 Hall Of Fame. Paradoxically, he's not reaching those heights in a classic organ trio formation but in a duet. His association with Billy Martin works so well that you can be forgiven for thinking that three people - at least - are playing (do not search in the liner's notes, there is no bass nor guitar). These guys are not really human, they are more like octopuses, multiplying to sound like an orchestra... Building a duet with Billy Martin could have been perilous for Wil Blades, the danger being to be seen or sound like a stand-in organist for John Medeski. The comparison was inevitable but Wil doesn't try to compete at all and find his own vocabular, which wasn't a given. One brilliant idea lies in the addition of a clavinet doubling over the Hammond and adding some extra funkiness to the stainless B3 formula. As for Billy Martin (read the interview we did with him last summer), he writes one of the most glorious chapters of his already brilliant history. Whenever he's alone doing his noisy one percussionman-show, whenever he's playing at two with John Medeski in a more experimental vein (Mago), or playing with MMW or Wicked Knee, he displays the same mastery and boundless creativity. This essential release for every Hammond addict of the soul-jazz-funk party side is no exception.

Biography :
Billy Martin of Medeski Martin and Wood and Wil Blades of Amendola vs Blades, and Stanton Moore Trio came together in 2010 to form this incredible Duo!
Drummer Billy Martin of Medeski, Martin and Wood and up and coming organist Wil Blades come together for a new duo project. The duo’s music is at once danceable and highly improvisational.
With a steady base as one-third of the renowned experimental jazz trio Medeski, Martin, & Wood, drummer Billy Martin has become one of the most forward-thinking, innovative, and influential percussionists in the music world. His ultra-sensitive, hyper-melodic drumming -- which explores the ideas of jazz, hip-hop, electronica, African music, and other genres -- has an organic feel to it, filled with soft, natural edges and fluid energies. When not performing with Medeski Martin & Wood, Martin continues to collaborate with other musicians in improvisational projects, many of which are documented on his own Amulet Records imprint, which he founded in 1995.
Blades, a native Chicago an, has become the San Francisco Bay Area’s first call organist and is rapidly gaining momentum throughout the world. For several years, he has been named in the Downbeat critics poll under “Rising Star” for organ. Wil has kept the traditional sounds of Jimmy Smith, Larry Young, and “Groove” Holmes alive, while creating a more personal, modern sound. Wil has performed and recorded with John Lee Hooker, Dr. Lonnie Smith, Melvin Sparks, Idris Muhammad, Joe Louis Walker, Don Braden, Donald Harrison, Karl Denson, Will Bernard, Charlie Hunter, Stanton Moore, Anders Osborne Scott Amendola and many others.


Jackie Mittoo • Evening Time



domingo, 26 de febrero de 2017

Bill Leslie • Diggin' The Chicks



Bill Leslie (1925-2003)
Leslie attended Media High School and graduated as an electrician at the outbreak of the Second World War. He took his military service from the US Army in Fort George G. Meade from 1943 onwards. Because of an eye disease, he was released from the army in 1944 and visited the Landis School of Music in West Philadelphia until 1948. He began his professional career as a musician in the late 1940s; In the following decade, he was part of the band of Louis Jordan, with whom he performed in clubs in Las Vegas, the Apollo Theater in Harlem and Smalls' Paradise, as well as in the TV show Your Hit Parade.In the 1960s he played with recordings of Larry Young (Groove Street), Thornel Schwartz (soul cookin), Sweden with Don Gardner, Dee Dee Ford and Freda Payne. At Argo Records, he released Diggin 'the Chicks, his only album under his own name, in 1962, with Ben Tucker, Art Taylor, Thornel Schwartz and Tommy Flanagan. In the field of jazz, he was involved in five recording sessions between 1962 and 1965. [2] At the end of the 1960s, he directed an organ trio. In the early 1980s, Leslie was the first chairman of the Philadelphia Clef Club, a jazz club in the 13th Street corner of Washington Avenue. In later years he was a church musician in Sellersville and performed Duke Ellington's Sacred Music.
 

VA • Down Home Slide



Review by Cub Koda
Although slide guitar compilations at times seem to proliferate like kudzu, this particular collection has much to recommend adding it to the collection. For openers, there's the inclusion of three previously unreleased live performances from Robert Nighthawk. Playing in a 1964 Chicago concert accompanied by Johnny Young on guitar and mandolin, and Little Walter on acoustic harmonica (a rarity), Nighthawk turns in stellar readings of Jimmy Rogers' "That's All Right" (a number he apparently never recorded anywhere else), Little Walter's "Everything's Gonna Be Alright" (set to a "Dust My Broom" arrangement), and his standard "Anna Lee," all in highly relaxed versions that add much to his meager discography. Other highlights include a track of Eddie Taylor making a rare appearance on slide with Nighthawk's "Jackson Town," four tracks by Big Joe Williams, two from Fred McDowell, a Johnny Littlejohn instrumental with Jimmy Rogers on rhythm guitar ("Slidin'"), and Homesick James guesting behind vocalist George Coleman on "Mad and Evil." Selections from David "Honeyboy" Edwards, Arthur Weston, Blind Connie Williams, John Henry Barbee, Elijah Brown and Johnny Shines complete this excellent collection.

Jet Set Swe • From Sweden With Love



Editorial Reviews
Picture yourself in a late Sixties movie, where secret agents and private Detectives solved impossible cases to a background of lush orchestral arrangements. Thanks to Jet Set Swe, you can once again experience this wonderful music. Their up-to-date versions of crime themes, lounge classics and easy listening jewels is guaranteed to take you back to that magical world of fast cars, secret agents and go-go girls...... Utilizing the forgotten sounds of the Hammond organ, vibraphone and moog, Jet Set Swe's unique revival of The Swinging Sixties sound caught on first, in their native Sweden and quickly spread throughout Europe. As imports, the response to the first two Jet Set Swe albums has been overwhelming so with an ever-growing North American fan base calling for more..here it is




Kid Ramos • Greasy Kid Stuff



Review by Hal Horowitz
For his fourth solo release, and third on the Evidence label, the Fabulous Thunderbirds' guitarist, Kid Ramos, once again calls in some high-profile blues friends for assistance. Instead of last album's guitarists and jump blues horns, this time Ramos sticks with harpists/vocalists to provide the momentum on a set of relatively stripped-down, greasy blues. He's also the only guitarist on the sessions, which makes this a spotlight for his picking as well as his bandleading abilities. Harmonica aces Rick Estrin (Little Charlie & the Nightcats), Paul de Lay, Lynwood Slim, Johnny Dyer, James Harman (who only plays on one of his three tracks and sings on the others), and Charlie Musselwhite, along with Rod Piazza, all contribute. The leadoff title cut, an instrumental that sounds like it was left over from his last horn-infused West Coast album, is the one exception. The sessions were cut in two days, which gives them a raw, not quite primal edge that adds to the gritty nature of the recording. Although the original intent was to perform exclusively covers, nearly all the harp-playing guests brought in their own original material. Just a handful of interpretations remain: Willie Dixon's "I Don't Care Who Knows"; an obscure Lightnin' Slim track, "Mean Ol' Lonesome Train"; an old uncredited Excello side, "Rich Man's Woman"; and Bobby Blue Bland's "Hold Me Tenderly." It sure sounds like this was one big part, as each guest plays with a relaxed gusto, whipping off harp lines with nonchalant intensity. Ramos' tough yet flexible guitar fills the holes and takes the lead just often enough so the listener knows whose album it is. Otherwise he's content to leave the majority of the spotlight to his high-profile guests, who turn in sterling performances. While few of their original tunes sound drastically different from standard blues fare, the ensemble playing and electrified atmosphere adds a palpable excitement to the tracks. The various vocals also infuse a diverse feel to the album, with Ramos' guitar and presence being the thread that holds it together. The closing "Harmonica Hangover" features Estrin and Musselwhite on what seems to be an improvised duet, with both harp men discussing the proceedings and other guests, as well as trading licks on an appropriately upbeat shuffle. It's a fitting finale to an album that works because of the loosely structured environment that Ramos provides, meshed with the remarkable talents of his talented contributors.


Cal Tjader & Eddie Palmieri • El Sonido Nuevo






Richard ''Groove'' Holmes •‎ Night Glider


Review by Matt Collar
Night Glider is a solid early-'70s funk-jazz set from organist Richard "Groove" Holmes. Propelled by the catchy title track written by fellow keyboardist Horace Ott (who appears here), the album features mostly groove-oriented originals. However, two Carole King-penned tunes, "It's Going to Take Some Time" and "Go Away Little Girl," also add period flair with their mix of R&B soulfulness and singer/songwriter melodicism. Joining Holmes are such soul-jazz regulars as drummer Bernard Purdie, trombonist Garnett Brown, and saxophonist Seldon Powell. Rounding out the group are guitarist Lloyd Davis, bassist Paul Martinez, and conga/bongo player Kwasi Jayourba.


Stuff Smith • Cat on a Hot Fiddle



Review by Thom Jurek
Recorded on two dates in 1959, this full-length by Stuff Smith features a pair of rhythm sections. One contains the great Red Mitchell on bass, the other the magnificent Shirley Horn on piano. In 1959, Smith had been on the scene for over two decades. And while he was well-known by the public at large for his novelty persona and his singing -- as evidenced by his 1936 smash hit "I'se A-Muggin'," this long-player aptly displays his stunning virtuosity as a jazz violinist, from standard jazz repertoire such as Duke Ellington's "Take the 'A' Train" and "They Can't Take That Away from Me" to "Strike Up the Band." His bowing is dizzying and the band pushed hard to keep up with him. On "Nice Work if You Can Get It," the tempo middles along but Smith swings hard in his tasty way. And Smith's vocal skills are showcased on the classics "Oh, Lady Be Good" and "Somebody Loves Me," offering a well-rounded portrait of a man who many thought was past his prime. Not so. This date smokes and is a welcome addition to the jazz violin canon.


sábado, 25 de febrero de 2017

Leslie Overdrive • ...With The Hammond, In The Beauty



And there was funk...and there was soul. Stunning debut by Copenhagen's Leslie Overdrive featuring "Hotpie's Popcorn" (The Poets of Rhythm) & "Drive My Car" (The Beatles) which will turn more than a few heads, but it'll be Aerosmith's "Walk This Way" that will twist it right off their shoulders! "With the Hammond, In the Beauty" is filled with fun, love and buckets full of Hammond!


Larry Coryell • Moonlight Whispers






Rhoda Scott • Live at the Olympia



Rococo • Victoria Charles, pdf / inglés



pdf / Idioma: inglés / 200 págs.

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pdf  / Language: english / 200 pages











viernes, 24 de febrero de 2017

Hugo Montenegro & His Orchestra • Come Spy With Me






Tamara de Lempicka • Patrick Bade



INTRODUCCIÓN 7
EL COMIENZO DE SU CARRERA 9
ART DECO 45
MOMENTO CRUCIAL 101
OBRAS MAESTRAS 133
BIBLIOGRAFÍA 204
BIOGRAFÍA 205
INDICE 206

pdf / 208 páginas / Idioma: Alemán / texto editable (copiar y pegar en traductor)
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Pdf / 208 pages / Language: German / editable text (copy and paste in translator)













Ari Borger Quartet • Backyard Jam


Influenced by his American mother, Ari Borger grew up listening to Blues and Jazz masters. Ari lived in New Orleans and there he performed at the most popular places such as House of Blues and Tipitina’s. In Brazil he played at the biggest Blues and Jazz festivals, sharing evenings with B.B. King, Pinetop Perkins, Marcus Miller and Johnnie Johnson.
The AB-4 album brings up original compositions and great creative versions for songs of Blue Note years genius Herbie Hancock and Horace Silver, played with great feeling. When performing live, the Ari Borger Quartet shows great energy on stage, taking the audience to a musical trip with their blend of Blues, Jazz and Soul. Playing as a team, they only worry about the music itself. It’s a real and unique experience. Modern and vintage at the same time, authentic and full of personality, this is Ari Borger Quartet/AB-4.




Shirley Scott with Stanley Turrentine • The Soul Is Willing



Review by Michael Erlewine
This is a good album that shows the husband and wife team of Shirley Scott and Stanley Turrentine in their usual, excellent form -- a fine example of organ combo soul jazz. Now part of the Prestige two-fer called Soul Shoutin'.



miércoles, 22 de febrero de 2017

John Patton • Accent On The Blues



Seven of the ten tracks here were cut in 1969 by organist Patton, guitarist Blood Ulmer, drummer Leroy Williams and Marvin Cabell on tenor sax, sax, cello and flute. During the final three tracks, two previously unreleased, Patton is joined by tenorman George Coleman. Patton didn't receive the attention in the '60s and '70s paid to Jimmy Smith, Jack McDuff, Groove Holmes and Jimmy McGriff, but few B-3 players could approach him. His relaxed work, while always bluesy, was and is consistently fresh. His phrases may seem familiar, but aren't cliches. He's also got an excellent left hand, and really knows when to punctuate with it, and structures his solos lucidly. John composes well, too. His sophisticated tunes are, like his playing, deceptively simple.
Even at this early stage in his career Ulmer's impressive, displaying a strong Wes Montgomery influence while improvising inventively and with discipline. Coleman, in good form, plays rich, many-noted phrases. Like him, Cabell's been marked by John Coltrane. Although he doesn't have anything like Coleman's chops, Marvin's thoughtful playing is worth hearing. ~ Harvey Pekar
Most John Patton albums are hard-driving, edgy soul-jazz and funk, and the title of Accent on the Blues makes the record seem like it would be no different than his other sessions. Accent On The Blues CD music Of course, that isn't the case. Accent on the Blues is among the most atmospheric music Patton has ever made. While it stops short of being free, it's hardly funky soul-jazz, and that may disappoint some fans of his rip-roaring style. Nevertheless, the album is a rewarding listen, primarliy because it displays a more reflective side of his talent, demonstrating that he can hold his own among the likes of guitarist James Blood Ulmer and saxophonist Marvin Cabell. ~ Stephen Thomas Erlewine




Homosexuality in Art • James Smalls, pdf / inglés



This book is not a panegyric of homosexuality. It is a scientific study led by Professor James Smalls who teaches art history at the prestigious University of Maryland, Baltimore county.
The author attempts to highlight the sensibility particular to homosexuals in creation, and abandons all classical clichés and sociological approaches.
The process of creating is examined and allows one to comprehend the contribution of homosexuality to the evolution of emotional perception.
In a time when all barriers have been broken, this analysis offers a second look and a new understanding of our civilization’s masterpieces.

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Traducción Automática:
Este libro no es un panegírico de la homosexualidad. Se trata de un estudio científico dirigido por el profesor James Smalls que enseña la historia del arte en la prestigiosa Universidad de Maryland, condado de Baltimore.
El autor intenta poner de relieve la particular sensibilidad de los homosexuales en la creación, y abandona todos los clichés clásicos y los enfoques sociológicos.
El proceso de creación es examinado y permite comprender la contribución de la homosexualidad a la evolución de la percepción emocional.
En un momento en que se han roto todas las barreras, este análisis ofrece una segunda mirada y una nueva comprensión de las obras maestras de nuestra civilización.

pdf /  Idioma: inglés, texto editable (copiar y pegar en traductor) / 277 págs











martes, 21 de febrero de 2017

Walter Wanderley • Rain Forest



Organ Explosion • Organ Explosion



Keyboard wizard Hansi Enzensperger and his colleagues Ludwig Kloeckner (bass) and Manfred Mildenberger (drums) locked themselves in a studio for three months with a Hammond organ, electric bass, and a Ludwig drum set with Rhodes, Clavinet, Space Echo, and Wurlitzer. In other words: with all the vintage treasures they could lay their hands on!
A rousing debut album that blasts the 70s sound aesthetic into today musical landscape.
Melodies for millions, with the sex of funk, the dirt of the blues, a punk attitude, and the freedom of jazz.